BJØRN CHRISTIANSEN | Photographer

Having written a bit about shooting documentary style photos I want to give you some tips on how to do basic lighting in a studio for portrait, fashion and commercial purposes. This is a shot from one of my assignments at Norsk Fotofagskole. It was a part of the photo marathon we had the last semester in second grade. The task was to shoot a commercial for glasses. We got the assignment early Tuesday morning at it was due to the day after. Having quite a few friends in Trondheim I started making calls finding models suited for these types of photos. I got two yes-es and had hoped for just one, but since I had the opportunity and it didn’t do much to have two models I booked both models. The next step in completing this task was to get the main accessories and getting an idea of what the final result should look like. I went straight to a shop that sold spectacles and asked them to lend me some glasses. Making a deal with them sending them photos after the shoot I got to borrow quit a few spectacles. Next up I had to figure out what my models should wear. Since I had experience shooting school portraits and glasses is something many can relate to studying I wanted to have this kind of feel to the photo, but raising the idea of quality by having the models tie their hair back and wearing straight, light colored shirts.

With the help of my friend Sascha Njaa I rigged the studio and did the shoot in two hours. Here is what I wrote almost two years ago about the technical specifications:

Lighting the scene

This picture is lit by four Elinchrom BX Ri 500. There are two flash heads with strip-light softbox on each sides and behind the models pointing at an 45 degree angel at them, one flash head at a tripod with a beauty dish and grid almost straight on the models and one octabank shooting straight into the ceiling on the left side and about a two meters away from the model. I have also two polystyrene boards with the black side facing the models and another one with white side up in front and facing up reflecting into the models eyes.

So why do I use this lighting setup? Setting up a studio like this from back to front as I usually do I want a main light source to light my subjects. The ABC of lighting techniques you should always set up a flattering light, the types of lighting varies from model to model and from expression to expression on the models. Having two models some might say that I complicated the scene a bit, but having the right equipment and an idea before you start rigging the studio, it helps a lot. The main light source in a typical school portrait comes from a slight angle, the more know Rembrant-light comes from an angle of 45 degrees from either the left or the right side of the subject and the nose is casting a shadow across the face furthest away from the light source. It also creates a triangular light shape beneath the eye furthest away. This models the face quite drastic which was not in my plan. Another setup that I use quite often is the butterfly lighting that I used at this particular shot. The main light placed straight in front and above of the model pointing slightly down making the nose casting the shadow straight above the subjects over lip. To even out the shadow that can be a bit to sharp I placed a white board below the models angeling it upwards and evening out the shadow and also casting light into the iris. The second light I set up was what I call an ambient light to further lighten the faces but also the background in the scene. Modifying this light source with a large octabank / softbox this doesn’t do much to the shadows in the models faces but evens out harsh shadows created with the beauty dish (main light) even more than the white board below the models. It also helps me light my white background a bit so it does not turn totally dark, but gives it some tone to it. The two black boards on the left and right of the models adds some contrast to the subjects. Had it just been just white walls around the studio the colors would look a bit washed out. The two light sources on the left and right, positioned further back of the models gives highlights to both the shoulders and the sides of the models helping me sculpt out their faces. In straight on school portraits you just might use two light sources, one main light and one on the background. Shooting with a white background, depending on the setup, stray light might do the same job as the two light sources behind the models. The two light sources behind the models are modified with two strip light softboxes. This is because I don’t want any light spill on the background and I also want large light to hit the models faces not creating any harsh shadows.

Shooting portraits in studio you might consider having a plan for each shoot, bring some accessories in form of clothes or spectacles to give the model something to work with. Plan the lighting and the feel before starting rigging the studio. It also helps having an assistant to help you out both rigging and giving you creative feedback as you work towards a final photo.

Last weeks photo shoot with Kristine Hove Røsok ended with a advertisement board for Pepsi Raw. Sunday I were in studio shooting a Pepsi Raw-glass-bottle with Sascha Njaa and Mimoza Rrusta and today I spent most of the time stitching everything together. Originally we were supposed to shoot a closeup of a model holding a bottle or a glass containing the drink, but I felt that the dress from H&M, Kristine was wearing gave the image more dynamics than just a cropped photo. Just for your information, this is not an official advertisement from Pepsi.

Early Tuesday morning Sascha Njaa and I took the buss to Lade to visit Kvik and photograph our saucepan in a design environment. The staff there were very helpful giving us full freedom to photograph wherever we wanted in their store and even provided us with a rather fancy saucepan and some kitchen-requisites.
Todays evaluation Jan Christian Sørlie, the teacher in this course, pointed out that I might have dropped the two containers behind the saucepan and erased the reflections of the kitchen-store. The choice of saucepan weren’t either an optimal solution, the reason were that it was curved and reflected almost everything behind the camera. Have I had a square saucepan I’d rather photograph that next time.

Thank you Kvik for letting us photograph in your store!

For my two models, Maria Ishoel Frelsøy and Karoline Dilling Broks I’ve published four new pictures from the photo shoot we had on Tuesday for the assignment spectacle commercial at Norsk Fotofagskole. Spectacles I got from Brilleland and goes by the brand Moods of Norway and Lyle&Scott and are new of this season (W/S 2011).

The last picture in this post is another selection after getting comments on Maria’s hand that was a bit miss placed.

Evaluation went well, the teacher pointed out the fingers on the shoulder of one of the models and didn’t really see the point in shooting horizontally and ended up liking the one portrait of Karoline the most.

Next assignment

The next assignment in our photo marathon at school is photographing architecture, Hovedfagsbygget at NTNU Gløshaugen. This is an old building from the early 20th century in a gothic style. I’ve photographed this building several times before, but not mainly architecture. Now I’m going to pack my tripod and other photo gear and head off to NTNU.

I have two photos from yesterday that I like a lot. I like the stuck up expression of the two models on the tall one, but the hand on that photo isn’t helping much. The horizontal one gives the photo a dramaturgy with both models looking at “something”. I like their expression on this one too, but I did shoot it in horizontal of some reason.
In an hour I am having evaluation and I am thinking about delivering three photos, just the one with Karoline and the two with both girls. Hope Mr. Øhlander is happy with at least one of them.
The spectacles are new of this season (W/S 2011) and from Moods of Norway. Brilleland was so kind as to lend me four pairs of spectacles that we could shoot. I also had a pair of Lyle & Scott and yet another pair from Moods of Norway. The shirts are borrowed from Zara.

Lighting the scene

This picture is lit by four Elinchrom BX Ri 500. There are two flash heads with strip-light softbox on each sides and behind the models pointing at an 45 degree angel at them, one flash head at a tripod with a beauty dish and grid almost straight on the models and one octabank shooting straight into the ceiling on the left side and about a two meters away from the model. I have also two polystyrene boards with the black side facing the models and another one with white side up in front and facing up reflecting into the models eyes.

3. One who has been tricked or made to appear ridiculous; a dupe: They made a fool of me by pretending I had won.

Today my assignment was shooting a commercial poster / portrait of someone wearing spectacles. I asked Maria Ishoel Frelsøy and Karoline Dilling Broks if they could be so kind as to pose for my camera this afternoon. No problem. After picking up some spectacles from Brilleland, Moods of Norway and Lyle & Scott, I picked up some shirts from Zara to go with the spectacles.
We had a lot of time in studio and did get to shoot all four pair of spectacles and even some watches that Karoline brought. The reason we shot the watches were because one of the other groups at school got an assignment, not very unlike the one I got, to shoot a commercial picture for a wrist watch and I thought it was a good idea to do the other assignment too. I realized that my styling were a bit too dull to shoot wrist watches. The two pictures added in this post were of somewhat less serious matter. Though I thought that they were to nice to just keep them to myself, so i decided to show them to the world by my blog and my Flickr profile. The rest of this evening I am going to spend doing post production of the final spectacle-image.

Et foto fra bildeserien min av Rune Johansen. Han var så snill å stille opp på kort varsel til opptaket mitt til yrkesportrett-oppgaven vi fikk utlevert på skolen i går. Det er flere bilder i serien som har litt mer med kickboksing, som Rune holder på med, men denne gangen publiserer jeg bare ett bilde for å holde litt på spenninga. Rune har tidligere vært modell for meg både i forbindelse med en lukkerhastighetoppgave og en yrkesportrettoppgave vi har tidligere fått på skolen.

Foto: Bjørn Christiansen, Til venstre: Minolta DiMage Z1 (2003). Til høyre: Hasselblad 501 (2009)

Bildet til høyre er et av mine første bilder med et digitalkamera. En kanskje litt modifisert sannhet da jeg allerede i 2002 hadde kjøpt meg et Muztek-kamera for dagpengene jeg mottok under førstegangstjenesten. Bildene med Muztek-kameraet ble aldri noe veldig komponerte og gjennomtenkte. Dessuten har de aldri blitt publisert. Så da regner jeg kaktus og visnet blomst, eller som tittelen på bildet er “Sjalusi på hybelen” som et av de første digitale bildene mine.

Til høyre finner du den første eksponeringen min med 120mm analogt mellomformat tatt med en Hasselblad 501. Planleggingen og gjennomføringen av eksponeringen var ikke så veldig nøye gjennomtenkt, men da jeg satt på skolen i dag og scannet negativene jeg fremkalte på tirsdag, kom jeg på bildeserien min for seks år siden.

Ikke nok med det lille miraklet jeg faktisk fikk fremkalt en helt greit eksponert sort/hvitt film på første forsøket, det er også et lite mirakel i seg selv at jeg faktisk har greid å holde tre kaktuser i live i rundt regnet seks år.

Foto: Bjørn Christiansen, sted: Solsiden, Trondheim

En mosaikkvegg på Solsiden jeg liker teksturen og mønstret i. Ikke så veldig spennende bildet ved førsteinntrykk kanskje, men om man ser lenge nok så ser man at det er andre ting i bildet enn bare ruter. Om jeg ikke husker helt feil er dette eksponert med 120mm ISO 400 sort/hvitt-film, blender f/4.0 og lukker på 1/60 sekund.

Foto: Bjørn Christiansen, sted: Solsiden, Trondheim

Heller ikke et veldig godt komponert bilde, men heller mer en liten eksperementering med film og mellomformat. Jeg hadde satt opp kameraet til å eksponere et arkitekturbilde, men plutselig kom denne gjengen vandrende fra det store intet. Litt turist som jeg er pekte jeg heller kameraet mot den snåle ansamlingen mennesker og trykket av uten å egentlig tenke så mye på fokuspunkt, brennvidde, blender, fokusplan og lukkerhastighet.

Å fotografere sort/hvitt på mellomformat ga mersmak. Å fremkalle filmen i etterkant var heller ikke så vanskelig som jeg først hadde trodd. Dette betyr kort og godt at Mamyiaene og Hasselbladene på skolen kommer til å bli hyppig lånt ut til meg.

Foto: Bjørn Christiansen

Her er min videre løsning på oppgaven jeg fikk på Norsk Fotofagskole som står beskrevet tidligere i bloggen min. Torsdag, den dagen vi hadde evaluering av den andre oppgaven om politisk reklame ble bildet for generelt og ikke særlig beskrivende. Jeg ville prøve å invitere folk igjen på lørdag til å sykle for meg, men slo fra meg tanken da jeg sjekka værmeldinga på yr.no. Søndagen kom og jeg hadde fått noen idéer om å få noen barn til å leke med vann og regn, men da mandagen endelig kom og jeg kunne ta kontakt med de som eventuelt kunne låne bort et barn for fotografering, hadde været slått om og det var strålende sol i Trondheim.
Heldigvis fikk jeg lurt meg med på foto-opptaket til Martine Elvira Heitmann Størseth og fikk låne modellen hennes, en gutt hun har pleid å sitte barnevakt for tidligere. Idéen med det nye bildet mitt var å sette mer lys på alternativ energi, derfor er det en kondens-stripe bak et fly i bakgrunnen. Glade barn gir som regel positive assosiasjoner. Men under evalueringen kunne ble det vel poengtert at hvis kondens-stripen bak flyet og flyet (ikke det av papir) ikke hadde vært der hadde budskapet kommet tydeligere frem; nå så det mer ut som en propaganda / verveplakat for luftforsvaret, og jeg kan vel si meg ganske enig i det.

Andre i klassen min på fotofagskolen sin løsning på oppgaven:
Anne Katrine Harkestad
Bente Isfjær
Erik Andreas Drabløs
David Nikolaisen
Ingunn Molden Grøntvedt
Jarand Boge
Martine Lein Skrove
Martine Elvira Heitmann Størseth
Sascha Njaa
Tuva Kleven